Venini & C. 1932–2001

In 1932, when both Martinuzzi and Zecchin left the company, Paolo Venini changed the name from Vetri Soffiati Muranesi Venini & Co. (V.S.M. Venini & Co.) to Venini & C.. Milanese architect Tommaso Buzzi became the new artistic director.

After 1934, artistic direction was taken on by Carlo Scarpa, who designed most of the company’s production through 1947. Side by side with Venini, who often intervened personally in design, Scarpa created numerous collections of objects characterized by refined colors. After World War II, Venini & C. sought numerous collaborations with artists such as architect Giò Ponti and the Swedish-born Tyra Lundgren. After 1948, Fulvio Bianconi, Massimo Vignelli, and Tobia Scarpa contributed significantly to the new direction of the company.

Paolo Venini died in 1959 and his son-in-law, Ludovico Diaz de Santillana, took over the management of Venini & C. He not only worked personally as a glass designer but also continued the collaboration started by Paolo Venini with various artists and designers. Starting in 1960, many other designers collaborated with the company, like Thomas Stearns, Toni Zuccheri, Tapio Wirkkala, Laura and Alessandro Diaz de Santillana, James Carpenter, Dan Dailey, Richard Marquis, Benjamin Moore, and Toots Zynsky. In 1986, the de Santillana family left the company, selling their stock to the Ferruzzi group, which guaranteed the fine quality Venini was known for by hiring new designers such as Timo Sarpaneva, Marco Zanini, Ettore Sottsass Jr., Alessandro Mendini, Mario Bellini, Barbara del Vicario, and others.

In 1988, Venini was acquired by Royal Scandinavian. Since 2001, Venini S.p.A. has been part of Italian Luxury Industries Group and is led by Giancarlo Chimento, Giuliano Tabacchi, and Giorgio Rizzo.

Photograph by Luca Vignelli
Thomas Stearns, Venini & C., 1962
Thomas Stearns
Cappello del Doge, 1962

Thomas Stearns   Cappello del DogeVenini & C., 1962

An asymmetrical vessel obtained with the technique of the double incalmo. Made with yellow pasta vitrea, cristallo, and green pasta vitrea glass. Strongly iridized surface.

Acid stamped:
venini murano ITALIA.
5 1/2 in. high (14 cm)

Exhibitions:
1962, Venice, 31st Biennale Internazionale d’Arte;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Domus, January, 1962, p. 38;
Domus, July, 1963, p. 40;
F. Deboni, 1989, n. 170;
R. Barovier Mentasti, 1992, n. 141;
M. Barovier, R. Barovier Mentasti,
A. Dorigato, 1995, n. 149;
Venezia e la Biennale…, 1995, n. 567;
F. Deboni, 1996, n. 227;
A. Venini Diaz de Santillana, 1996, n. 223;
M. Heiremans, 1996, n. 202;
H. Ricke, E. Schmitt, 1996, n. 158;
A. Venini Diaz de Santillana, 2000, n. 187;
Olnick Spanu, 2000, n. 141;
Olnick Spanu, 2001, n. 178;
A. Dorigato, 2002, p. 345.

Photograph by Luca Vignelli
Thomas Stearns, Venini & C., 1962
Thomas Stearns
La sentinella di Venezia, 1962

Thomas Stearns   La sentinella di VeneziaVenini & C., 1962

Multicolored glass sculpture composed of iridescent glass canes, murrine and vertical inciso work. One of three made. One was destroyed. Only two remain.

Engraved: 62 Venini Sentinella di Venezia version # 1.
20 7/16 in. high (52 cm)

Exhibitions:
1962, Venice, 31st Biennale Internazionale d’Arte;
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
M. Karasik, 1989, n. 55;
Olnick Spanu, 2000, n. 140;
Olnick Spanu, 2001, n. 177.

Photograph by Luca Vignelli
Thomas Stearns, Venini & C., 1961
Thomas Stearns
Spiralato (Thomas), 1961

Thomas Stearns   Spiralato (Thomas)Venini & C., 1961

Vase obtained with the incalmo technique. The lower part is made of black glass and the top portion is made in cristallo glass with an applied spiral of green glass.

Acid stamped:
venini murano ITALIA.
15 1/8 in. high (38.7 cm)
Exhibitions:
1962, Venice, 31st Biennale Internazionale d’Arte;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Venini, red catalogue, n. 8631;
Domus, 1962, November, advertising pamphlet;
The Venetians…, p. 48;
F. Deboni, 1989, n. 171;
M. Heiremans, 1993, n. 244;
F. Deboni, 1996, n. 229;
M. Heiremans, 1996, n. 207;
A. Bettagno, 1996, n. 222;
Venini Venezia…, p. 75;
M. Barovier, 1999, p. 267;
Venini, catalogue…, n. 189;
Olnick Spanu, 2001, n. 176;
A. Dorigato, 2002, p. 345.

Photograph by Luca Vignelli
Thomas Stearns, Venini & C., 1962
Thomas Stearns
Nebbia lunare, 1962

Thomas Stearns   Nebbia lunareVenini & C., 1962

Vessel in transparent glass. The lower portion is cased in heavily iridized dark blue glass. The top portion is made in clear glass and is inciso with fine vertical incisions.
The two portions are separated by a band of asymmetrical inciso glass.

Acid stamped:
venini murano ITALIA.
4 1/2 in. high (11.4 cm)

Exhibitions:
2000, New York, Venetian Glass, Museum of Arts & Design;
2001, Milan, Murano: Vetri dalla Collezione Olnick Spanu, Spazio Oberdan.

Bibliography and comparative texts:
Domus, 1963, July, p. 40;
M. Cocchi, 1991, n. 48;
M. Heiremans, 1993, n. 242;
M. Heiremans, 1996, nn. 204, 205;
H. Ricke, E. Schmitt, 1996, nn. 159, 160;
Olnick Spanu, 2000, n. 139;
Olnick Spanu, 2001, n. 175.

Photograph by Luca Vignelli
Thomas Stearns, Venini & C., 1962
Thomas Stearns
Reliquiario del Doge, 1962

Thomas Stearns   Reliquiario del DogeVenini & C., 1962

Reliquary for the Doge. Vessel in heavy transparent cristallo glass.
A prototype never produced.

Engraved: Stearns 62.
6 1/4 in. high (15.9 cm)